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Pro Tools Mastering Limiter Shootout: Part 2

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Pro Tools Mastering Limiter Shootout: Part 2 feature pro tools Choosing A Limiter Pro Tools Mastering Limiter Shootout: Part 2 Mike Thornton We follow up our comprehensive round-up of mastering limiter plug-ins for Pro Tools with a look at ince we published our shootout of mastering limiters for Pro Tools in the hot new products from three further manufacturers. S May 2006 issue, PT users have seen two new mastering limiter plug-ins released except that it has a graph section added into meters always upsample to make sure from TC Electronic and Massey Labs. We’ve the window. This shows a very inter-sample peaks are detected and also had several letters pointing out that the comprehensive dither and noise-shaping measured — the meter scale goes beyond original roundup didn’t include Wave Arts’ section with a good selection of 0dBFS to +3dBFS so you know you are popular Final Plug or Multi Dynamics, so in noise-shaping curves to suit the different going right over. TC Electronic boast that this month’s Pro Tools workshop, we’re sample rates and bit depths. It has a feature Brickwall Limiter is bit-transparent below going to run a ‘take two’ shootout where you can turn off the dither noise with its threshold, and there is a green light next comparing all these limiters. In the interests a Mute button, allowing you to compare the to the Threshold control which lights to of fair play all round, I’ll be using the same undithered sound with the dithered output. show when it is operating in bit-transparent comparison procedure and the same test Final Plug also includes a range of presets mode. However, Brickwall Limiter only has source material; for more details see May’s ready for CD and DVD Audio mastering. basic bit-depth management and dither, issue, or read the article on-line at Unlike the other products on test here, with no noise-shaping options available. www.soundonsound.com/sos/may06/ Wave Arts’ plug-ins are not available in • Massey L2007 articles/ptworkshop_0506.htm. TDM format, but they are the only ones of This new limiter comes from Stephen the three that include Audiosuite off-line Massey, who used to work for Trillium Lane Single-band Contenders versions. Labs and has now set himself up producing TC’s MD3 Stereo Mastering package includes • TC Electronic Brickwall Limiter very cost-effective plug-ins that are creating a single-band and multi-band limiters, while TC’s Brickwall Limiter and MD3 were lot of interest. Stephen’s L2007 mastering Wave Arts’ Final Plug and Massey Labs’ originally options for the System 6000 limiter looks excellent value — you get both L2007 are single-band designs, so there are hardware processor, and software versions TDM and RTAS versions for $89 — and is three new entrants in this category. have been around for quite a while as part again similar in look to the Waves L-series, • Wave Arts Final Plug of the Powercore mastering suite, but TC except that he has chosen to go for knobs to Final Plug is a look-ahead peak limiter have only just got around to releasing Pro adjust the threshold and output level. In with bit-depth management and Tools versions of them. Brickwall Limiter addition there are two rotary switches, the noise-shaping dithering. It looks and feels operates at 48-bit and uses a five-times first of which is called Mode and alters the very simple to the Waves L1/L2/L3 range oversampling algorithm for accuracy. The behaviour of the envelope detector, packaging a complex range of adjustments into a simple four-position control. The Release rotary switch is obvious in its function and settings. Multi-band Contenders In the multi-band category we have TC Electronic’s MD3 and the Wave Arts Multi Dynamics plug-in. • TC Electronic MD3 The MD3 plug-in is much more than a multi-band limiter: it has an EQ section with four-band parametric EQ, a normaliser section, a three-band dynamics section with compressor, limiter and expander options, an M&S encode and decode option and a brickwall limiter on the end. Other interesting features include automatic gain make-up and a lookahead delay to help with peak handling. All of this makes MD3 a very comprehensive mastering tool in one package. 220 www.soundonsound.com • august 2006 The main window has six pages, which relate to MD3’s various sections. It starts Loudness Improvements: Single-band Limiters with the main page, where you set input Loudness Leq Drum & bass Rock opera Jazz quartet Classical Vocal ballad levels, M&S encoder and decoder options, L1 6.1 7.9 7.0 4.3 4.6 and the crossover points between the three L2 7.4 9.6 7.6 4.9 6.9 dynamic bands. Next we have a page for the L3 Ultramaximiser 8.5 9.4 8.5 6.6 7.0 Maxim 6.2 9.4 6.2 3.7 5.5 four-band EQ section, followed by a Oxford Limiter 6.3 8.1 8.0 5.8 6.7 Normalise page to help adjust the levels Ozone Loudness Maximiser 6.7 9.9 10 5.7 7.8 going into the dynamics section. This takes Brickwall Limiter 6.8 8.4 8.3 6.3 6.7 up the next two pages, one for an expander Final Plug 6.5 8.3 9.1 6.4 5.2 page and the next for a compressor. Finally, L2007 8.3 8.5 8.8 6.5 7.0 the output page includes the brickwall limiter. • Wave Arts Multi Dynamics Sound Quality: Single-band Limiters The Multi Dynamics plug-in offers up to Drum & bass Rock opera Jazz quartet Classical Vocal ballad six bands of dynamics with both L1 6 (out of 10) 7 5 6 7 compression and expansion, and has a L2 8 7.5 6 6.5 7.5 comprehensive graphical interface to display L3 Ultramaximiser 9 8 7.5 8 9 everything that is going on in just one Maxim 6 7.5 7 8 8 plug-in window. Oxford Limiter 8 8.5 8 9 8.5 Ozone Loudness Maximiser 8 8.5 9 8.5 8.5 Unlike conventional dynamics processors Brickwall Limiter 8 8.5 8.5 8 8 that work around threshold, ratio and gain Final Plug 8 8 7 8.5 7.5 make-up controls, Multi Dynamics still has L2007 8.5 8.5 8 9 8.5 threshold and ratio controls but the gain make-up is replaced by two separate controls. Simply put, the Lo Gain control more attenuation the lower the signal goes and choir, a jazz quartet piece, a solo vocal determines the amount of gain applied to below the threshold, but in Multi Dynamics ballad and a classical orchestra piece. First the signal when it is below the threshold, the maximum attenuation is set by the Lo I measured the loudness (Leq A-weighted) of and the Hi Gain control determines the Gain control. To configure Multi Dynamics the unmastered version of each track to get amount of gain applied above the threshold. as a compressor, therefore, you set the Lo a reference. Then I used each limiter to The steepness of the transition from Lo Gain Gain higher than the Hi Gain, while if it is an increase the loudness as far as I could to Hi Gain, as the signal passes through the expander you need, you set the Lo Gain without experiencing unacceptable threshold, is set by the ratio control. So below the Hi Gain. side-effects. Finally, I measured the loudness unlike a conventional compressor that of the processed version and came up with a continues to apply more gain the further The Tests loudness improvement score for each track past the threshold the signal goes, Multi Just to recap from May’s article, my tests processed by each limiter. The loudness Dynamics limits the maximum amount of used five clips covering a wide range of increase is a definite measurement, and gain with the Hi Gain control. Similarly, a different programme material: a drum although I acknowledge that the point where conventional expander continues to apply & bass track, a rock opera with solo vocal unacceptable side-effects start is subjective, the fact I did all the tests during the same session, then reviewed the results and redid any that I wasn’t happy with, should give as fair a test as I could achieve. See the test results table for more information. On this take 2 shootout I used the best two in each category to get a sensible benchmark to compare sound quality. Single-band Limiters • Drum & bass The three new limiters were all quite similar to each other, but L2007 edges it for me, maintaining some space whilst producing very high gain improvements. • Rock opera Again, all three were very similar in sound, although Final Plug appeared to produce some strange intermodulation-type effects which only became obvious while I was doing the final comparisons between each version of this track. However, they all managed to retain the vocal cut I commented on in the original article. L • Jazz quartet august 2006 • www.soundonsound.com 221 feature pro tools MASTERING LIMITER SHOOTOUT L The problem with the piano under the vibes distorting showed up again with all Loudness Improvements: Multi-band Limiters three contenders. Final Plug suffered the Loudness Leq Drum & bass Rock opera Jazz quartet Classical Vocal ballad most with TC’s Brickwall Limiter performing Ozone Multi-band Dynamics 1.1* 4.3 4.5 2.0 3.4 the best.
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